Case Number 23401

FOOTLOOSE (2011) (BLU-RAY)

The Charge

"Backup sweetheart, 'cos I don't know how big it's gonna get!"

Opening Statement

Another day, another remake. If one were to conduct a poll of '80s movies
worthy of the remake treatment, few would opt for Herb Ross' Footloose.
Then again, seeing as just about everything else has already been remade or
"rebooted," Hollywood is left with the final few scrapings from the
barrel.

However, with director Craig Brewer (Black Snake Moan) on board, and
some canny decisions by the production team, Footloose (2011) is that
rare case of a remake justifying its existence.

Facts of the Case

Following the death of his mother, Ren (Kenny Wormald, Center Stage: Turn
it Up) relocates from Boston to the town of Bomont, Georgia, to live with
his aunt and uncle. Being the new kid in town poses enough problems, but Ren has
a rude awakening when he's hauled in front of the local judge for playing his
music too loud. As his uncle explains to him, parties, loud music, and even
dancing are banned in the town of Bomont, following a series of draconian laws
being brought into force, following a fatal car crash three years earlier, one
which claimed the lives of five teenagers on their way back from a party.

Ren fails to understand this ridiculous set of laws and sets about bringing
change to the town. But Ren's actions put him on a collision course with
Reverend Moore (Dennis Quaid, Innerspace), the town preacher, and father
of local wild child Ariel (Julianne Hough, Burlesque) whom Ren finds
himself attracted to.

The Evidence

In nearly every respect, Footloose (2011) outclasses the original.
This is less a remake and more a case of Footloose refined. It's
sometimes a subtle change: a minor tweak of dialogue here or a reconfigured
scene there, but so often the class of 2011 just works better.

The fatal car crash only referred to in the original opens the film; its
consequences far more impactful now that you can actually see it. This one
change has major repercussions on how we perceive these characters, personified
by the alterations to Reverend Moore. When we first meet him, Moore is
addressing the town council shortly after the crash, clearly acting on his most
base instincts. He has just buried a son and has no intention of losing his
daughter. In Dennis Quaid's hands, Moore is less a zealot, and more a frightened
father. The fear of loss haunts and informs his every decision, to such an
extent that he cuts out all risk, at the expense of the very things that make us
feel alive.

Another notable improvement is Ren's uncle, who this time is very much in
his nephew's corner. The changes to Ren also prove vital. Here Ren has lost his
mother to leukemia; a loss which isn't milked for emotional effect, but serves
to explain the drive his character is noted for. Ren's intervention in the
town's affairs feels more like his way of helping them come to terms with their
own losses; a way for everyone to collectively heal their wounds, rather than
any kind of personal triumph. Even Ariel, who frankly was hard to sympathize
with in the original, is far more appealing. Her hedonistic ways are addressed
right from the beginning -- especially the contrast in character pre and post
crash -- which makes the finale far more rewarding.

As fun as the original Footloose remains, the film has always lacked
substance. Under Brewer's direction, the remake carries far more weight, making
Ren and Ariel's romance feel far more genuine. This version also does a much
better job crafting a story around the rather weak concept of a kid rebelling
against a town where dancing is banned, providing a more evenhanded view of the
adults who are rarely guilty of being overbearing killjoys. Brewster's
Footloose is smart enough to know that what may have worked in 1984 would
simply be laughable now. With this in mind, he significantly retools the scene
where Ren teaches Willard how to dance, purposely playing on the comedic
potential it presents. Not only is it funnier -- using Ren's young nieces
singing "Let's Hear it for the Boy" on their Barbie karaoke machine --
it makes for an unexpectedly sweet moment.

While it may be sacrilege to say, the cast -- all of whom benefit from
tweaks to their characters -- are universally excellent, improving upon the
performances of their predecessors. Andie MacDowell (Four Weddings and a
Funeral), in the role of Vi Moore (previously played by Diane Wiest), best
exemplifies how the improved writing helps elevate a previously slim role into
something with more substance. Special praise goes out to Miles Teller
(Project X), whose comedic touch allows Willard to steal every scene he's
in.

The most enduring element of the original Footloose is unquestionably
its soundtrack, but even this is subject to change. Though Blake Shelton's cover
of Kenny Loggins' title track doesn't veer too far from its source (simply
adding a milt country twang), Bonnie Tyler's "Holding Out for a Hero"
is given a major facelift courtesy of Ella Mae Bowen. Stripped down and
noticeably slower, the song now accompanies an early montage soon after Ren's
arrival Bomont. In its new form, the song feels far more like an extension of
the film's narrative, the town itself calling out for a savior. Other than that,
the soundtrack sports a more contemporary flair, with hip-hop as the predominant
tone. The dance choreography is also brought up-to-date, with one or two large
scale set pieces truly impressing.

It would be foolish of me to suggest that Footloose has become a
classic -- it never was, and never will be -- but, thanks to some smart
decisions, this film has been turned into solid, frequently uplifting, and
downright fun entertainment.

Paramount's Footloose (2011) (Blu-ray) delivers a near flawless
2.35:1/1080p high definition transfer, with solid black levels and vibrant
colors that burst forth from the screen. The image remains razor sharp
throughout, with extremely high levels of detail; every blade of grass is
distinct, as are the patterns on clothing and beads of sweat on leading man
Kenny Wormald's brow. The 5.1 DTS-HD Master Audio matches the video presentation
stride for stride, with dialogue that is crisp and asoundtrack that really comes
to life during the dance scenes, the bass leading the way.

The release also offers us a healthy selection of bonus features. "Jump
Back: Re-Imagining Footloose" (14 min) has members of the cast and crew,
including original screenwriter Dean Pitchford, discussing the motivation for
remaking Footloose. "Everybody Cut: The Stars of Footloose" (13
min) focuses on the leads and the process of casting them. "Dancing with
the Footloose Stars" (12 min) looks at the choreography behind the numerous
dance scenes, and touches on how the film's soundtrack was given an update.
There are several deleted scenes which come with optional director's commentary.
Three music videos for "Footloose," by Blake Shelton; "Fake
ID," by Big & Rich; and "Holding out for a Hero," by Ella Mae
Bowen. The "Footloose Rap" is a fun addition, recapping the entire
plot in two cheese-filled minutes. And last, but certainly not least, is a
director's commentary from Craig Brewer who rarely lets up, offering plenty of
insights into his take on Footloose, including how changes were made
while still aiming to remain respectful of the original. The set also includes
DVD and digital copies of the film, as well as Hollywood's latest initiative,
Ultraviolet, allowing the viewer to instantly stream the film to a media player
of choice.

Closing Statement

Judged as a teen drama or a remake, Footloose (2011) is a resounding
success. Most surprising of all is how well the film plays to people outside its
obvious target demographic...myself included.